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Thesis advisor: Thomas H. Groome / Thesis advisor: John J. Makransky / The premise of this dissertation is that Buddhism must inculturate to meet the context of contemporary North America. Given the widespread interest in the application of Buddhist-derived ideas and practices in a host of secular settings, the capacity for teachers to engage with new ideas and disciplines will be crucial to the tradition's continued relevance. Because there is a high demand for and interest in Buddhist-derived programming in secular spaces, the number of individuals and organizations striving to meet this demand is mushrooming. This trend, coupled with a dearth of professional training programs and accreditation processes means that not only are there an eclectic array of approaches being used to teach meditation, but there is also minimal discourse engaging the crucial question of what constitutes effective pedagogy or adequate training processes for teachers. Chapter 1 establishes the need for the inculturation of Buddhism. This imperative for adaptation raises fundamental questions regarding how to best evaluate the authenticity of changes to traditional teaching methods. In Chapters 2 and 3, the Buddhist doctrine of skillful means is explored with an eye toward distilling guiding principles for analyzing this process of adaptation of teachings to meet a variety of cultural and personal perspectives. Drawing from Mahayana and pre-Mahayana sutras, traditions of commentary, and contemporary hermeneutics, a set of priorities based on the perspective of the Buddhist tradition is proposed. In Chapter 4, it is established that finding points of relevance to particular cultural concerns such as physical and mental health issues has been a vital component of existing efforts toward secularized meditation programs to date. This chapter concludes by drawing out of such present practices additional guiding principles to advance the process of pedagogical inculturation. Despite the widespread interest in applying meditation to a variety of settings, the pedagogy and philosophy of education behind the various approaches remains largely under-theorized. To fill this need, Chapter 5 establishes a set of guiding principles for pedagogical adaptation, drawing from the tradition's own self-understanding as well as from the insights of Western education as discussed in the prior 4 chapters. Finally, Chapter 6 offers an example of inculturated pedagogy at work. / Thesis (PhD) — Boston College, 2012. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Religious Education and Pastoral Ministry.

This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.

Following several successful military expeditions against the Mongols in the seventeenth and eighteenth centuries, the Manchu rulers of Qing China (1644-1911) met an unprecedented challenge as they incorporated culturally different subjects into their growing empire. After doubling in territory and tripling in population, how did the multicultural Qing operate? How did the new imperial subjects receive and reinterpret Qing state policies? What have been the ramifications of the eighteenth-century political innovations in modern China? In this dissertation, I address these questions by examining the encounters of the expanding Qing empire with Tibetans and Mongols in Inner Asia. Central to the analysis is Tibetan Buddhism, to which Mongols and Tibetans have adhered for centuries. Recent decades have seen a growing volume of research attending to Tibetan Buddhism within the context of the Qing’s imperial policies, but key questions still remain with regards to the perspective of these Inner Asian communities and the reasons for their participation in the imperial enterprise. The inadequate understanding of the Qing’s interaction with Tibetan Buddhism is predicated upon the assumption that Qing emperors propitiated the belligerent Mongols by patronizing their religion. While this premise acknowledges Tibetan Buddhism’s importance in the Qing’s imperial formation, it simultaneously deprives those practicing the religion of agency. The purpose of this dissertation is to analyze how the empire was ruled from the viewpoint of the governed. The project draws evidence from Tibetan-language biographies and monastic chronicles, letters in the Mongolian language, as well as local gazetteers, artisanal manuals, and court statutes in Chinese and Manchu, the two official languages in the Qing era. These textual sources are supplemented by Tibetan Buddhist artifacts housed in museums and libraries in North America and Asia. Through an examination of the wide array of source materials, I argue that the Qing imperial rulers capitalized on the religious culture of Inner Asian communities, which in turn gave rise to a transnational religious network that was centered on Tibetan Buddhist epistemology. The religious knowledge system remained strong well past the formative eighteenth century. Its enduring impact on Qing political and social history was felt even as the empire worked towards creating a distinctive cosmopolitan Qing culture. The dissertation consists of four chapters, each of which locates a space within the context of the symbiotic growth of the Qing and the Tibetan Buddhist knowledge network. This dissertation revolves around Tibetan Buddhist scholars, institutions, rituals, and objects, as they traveled from Tibet to Qing China’s capital and eastern Mongolia, and finally entered the literary realm of intellectuals in eighteenth-century China. Chapter One brings into focus Tibetan Buddhist reincarnation—a dynamic practice that redefined the institutional genealogy of individual prestige—as the Qing imperial power increased its contact with Inner Asian communities from the 1720s in the strategic border region of Amdo between Tibet and Qing China. I discuss how local hereditary headmen refashioned themselves into religious leaders whose enduring influence could transcend even death so as to preserve their prestige. Yet, their impact reached beyond the imperial margin. Chapter Two traces the role of these religious leaders in transforming an imperial private space into the largest Tibetan Buddhist monastery in the Qing’s imperial capital. This monastery—Beijing’s Lama Temple (Yonghegong 雍和宮)—not only became a site that manifested Qing imperial devotion to Tibetan Buddhism, but also served as an institutional outpost for the increasingly transnational Tibetan Buddhist network to the east. The Lama Temple was not the only outpost of the growing religious network, and Chapter Three explores another major nodal point within this network at a contact zone in southern Mongolia. It was here that two massive Tibetan Buddhist monasteries were constructed, owing to the mutual efforts undertaken by the imperial household and Tibetan Buddhists from Inner Asia. The final chapter returns to the imperial center but shifts its focus to a discursive space formed by Tibetan Buddhist laity who also occupied official posts in the imperial court. Two Manchu princes and one Mongolian Buddhist composed or were commissioned to compile texts in multiple languages on Tibetan Buddhist epistemology. Their writings reveal the fluidity and extent of the religious network, as well as its symbiotic growth with the imperial enterprise as the Qing empire took shape territorially and culturally. This dissertation concludes by addressing the nature of the Qing’s governance and that of the transnational power of the Tibetan Buddhist network, and it aims to deconstruct the dominant discourse associated with imperial policies in the Inner Asian frontier. My findings offer insight into how Tibetan Buddhism had a lasting impact on the Qing’s imperial imagination, during and after the formative eighteenth century.

As early as the fifth century C.E., the thousand buddha motif had become a prevalent feature in the art of many cave-temples in Gansu, China. Past scholarship concentrated on tracing the textual sources of the motif and with relating it to the practices associated with the devotion to the three thousand buddhas of the three ages. Past research has not considered how the thousand buddhas may have been a reflection of a wider range of religious practices and popular beliefs nor has it explored the motif's artistic origin. / By demonstrating that the earliest examples of the two-dimensional painted form of the thousand buddhas came from Gansu and that the motif was related to an iconographic and architectural design that existed between several Gansu cave-temple sites, this study proposes that the thousand buddha motif was a Gansu cave-temple art innovation that influenced cave-temple decor in areas west of Gansu. In addition, possible reasons for the prevalence of the motif are suggested by considering that it may have reflected the relationship between the thousand buddhas and meditative practices as well as the acts of chanting and circumambulation.

Thesis (Ph. D.)--University of Chicago, Dept. of Anthropology, December 1997. / Includes bibliographical references. Also available on the Internet.

Thesis (MA)--University of Melbourne, Centre for Cultural Materials Conservatorium, 2010. / Typescript. Includes bibliographical references (p. 135-146)

Thesis (Ph.D.)--Baylor University, 2009. / Includes bibliographical references (p. 123-134).